교합장치가 발음시 하악위 및 하악의 비틀림 회전운동에 미치는 영향

김문규,한경수,김종영,양근영,Kim, Moon-Gyu,Han, Kyung-Soo,Kim, Jong-Young,Yang, Keun-Young 대한안면통증구강내과학회 2001 Journal of Oral Medicine and Pain Vol.26 No.1

This study was performed to investigate the effects of occlusal appliance on the mandibular position and the mandibular rotational torque movement during speech. For this study, 20 patients with temporomandibular disorders(TMDs) and 20 normal subjects without any signs and symptoms in the masticatory system were selected as the patient group and as the normal group, respectively. Biopak $system^{(R)}$(Bioresearch Inc., Milwaukee, USA) and a sentence of 'Sue is missing her house' were used for recording and for observing of speech pattern. There were five mandibular positions observed in this study, that is, mandibular rest position, 'ssi', 'her', 'ha', and 's' speech position. In each position, slant and A-P distance in sagittal plane, vertical distance and lateral distance in frontal plane were measured. Amount of the mandibular rotational torque movement were measured at 'her', 'ha' speech position and for all through speech movement. Centric relation splint(CRS) was placed in both groups, but anterior or posterior bite plane were placed in normal subjects only. Data collected were processed and analysed by SPSS windows program. The results of this study were as follows : 1. Mandibular positions in both groups were not different before adaptation, with CRS, and after removal, but total amount of the mandibular rotational torque movement was greater in patients. 2. Mandible was slightly placed anteriorly with CRS at 'her' and 'ha' speech position in patients, but was placed anteriorly at all the five positions in normal subjects. 3. Difference with type of occlusal appliance in normal subjects were noted only for vertical distance at 'ssi' and 'ha' speech position, and the distance with CRS were more than that with posterior bite plane. 4. Mandibular rotational torque movement at 'her' and 'ha' speech position was greater in patients, but the difference was disappeared after appliance removal. And the torque movement was greater at 'ha' speech position than that at 'her' speech position in frontal plane. It could be concluded that the adaptation of occlusal appliance showed a tendency to locate the mandible anteriorly during speech in both groups, but did not affect total mandibular rotational torque movement which was greater in patients.

시간과 욕망의 비극: 『로미오와 줄리엣』

김문규(Kim Moon-Gyu) 신영어영문학회 2003 신영어영문학 Vol.25 No.-

This paper is to examine the relationship between time and desire in Romeo and Juliet. In Romeo and Juliet Shakespeare tries to prove the belief true that "love is not time's fool", by dramatizing the heroic vision of romantic love against the hostility of time. From the start Fortune and stars are blamed for the lovers' tragedy, but their malign influence is incorporate in the more palpable hostility of time. At first fateful meeting, lovers are filled with a tragic knowledge of death and death's companion, time. But once lovers are awakened to true desire for each other, they experience their own different order and rhythm of time. The lovers' meetings dissolve time, making it speed up or stop and standstill, as the present moments is transformed into the time of love. Thus, time newly means for them metamorphic principle that makes them advance to the rebirth into a higher stage of existence. Even against "untimely death", They assert that death is a transcendental form of consummation; Romeo wills his death as a means to permanent union with Juliet, and Juliet also makes her death as a heroic act of love's constancy. But after the consummation of the lovers' death, the drama again proves the belief true that "love is not time's fool" in secular, earthly sense of immortality, by displacing the lovers' desires onto a perpetual narrative of love. This ending paradoxically suggests that to accept rather than deny time is to prove that our deepest life ultimately craves growth Conclusively, Romeo and Juliet can be viewed as the tragedy of time and desire because it proves that human desire and human identity are essentially related to the metaphysics of time.

셰익스피어의 『십이야』의 말볼리오

김문규(Kim, Moon-Gyu) 신영어영문학회 2015 신영어영문학 Vol.61 No.-

This paper analyses Malvolio’s character in Twelfth Night as the prototype of the hypocritical bureaucrat who is satirized as the eunuch. Malvolio is a servant in an anachronistic country, but he is called a contemporary puritan. And his story is about an aspiring servant who wants to marry the lady of the house. Thus, his story can be read as mirroring contemporary social mobility. Malvolio as a puritan bureaucrat has become a target for the community to direct its displeasure over certain forms of class aspirations. By the members of community Malvolio is induced to expose his own fantasy in which his social and sexual desire for the lady of the house is profusely satisfied. Then, the entire course of his bafflement follows and he is ridiculed, feminized and sexually degraded, which means he has seen made an eunuch. However, the play finally suggests that Malvolio remains the bureaucrat as ever and that it is time for the community to face the puritan bureaucrat again.

『사랑의 헛수고』: 궁정 풍 사랑의 유행과 남성 주체의 자기 소외

김문규(Moon-Gyu Kim) 신영어영문학회 2007 신영어영문학 Vol.37 No.-

Love's Labour's Lost is the only comedy of Shakespeare which adopts 'love' as its title. But it does not follow the convention of romantic comedy which sets the ideological closure of final marriage for romantic love. It is because Shakespeare's concern with love in this comedy is the self-alienation of male courtly lovers and their fictions of masculine selfhood. Associating courtly lovers' labor with errors rather than with the remedies, the play represents, love, especially courtly love, as the symptoms of Imaginary Order. As is the play doubtful about the efficacy of romantic love, so the new form of marriage-the defer and the delay of it-alters the dramatic form. In addition, final songs which remind us that marriage is a beginning as well as an end, strengthen a critical view against courtly love as a fashion.

여성혐오와 가부장의 비극

김문규(Moon-Gyu Kim) 한국셰익스피어학회 2002 셰익스피어 비평 Vol.38 No.4

절토사면에 보강압성토(Soil Castle)공법의 적용사례에 관한 연구

김문규(Kim Moon Gyu),오명주(Oh Myeong Joo),윤성호(Yoon Sung Ho) 대한토목학회 2003 대한토목학회 학술대회 Vol.2003 No.10

시멘트 복합체에 혼입된 탄소나노튜브의 분산방법에 따른 압축강도 발현 특성 연구 동향

김문규(Kim, Moon-Kyu),김규용(Kim, Gyu-Yong),편수정(Pyeon, Su-Jeong),최병철(Choi, Byung-Cheol),이예찬(Lee, Yae-Chan),남정수(Nam, Jeong-Soo) 대한건축학회 2023 대한건축학회 학술발표대회 논문집 Vol.43 No.1

『코리오레이너스』: 국가주의의 비극

김문규(Moon Gyu Kim) 한국셰익스피어학회 2006 셰익스피어 비평 Vol.42 No.2

Coriolanus dramatizes a problematic nature of the nationalism ideology, focusing mainly on the relationship between soldier hero and his patriotic mother. Coriolanus is reared by a supremely patriotic mother who is subjected by the dominant ideology, and is also instrument to it. As a result, he has accepted his identity and his name as Rome's defender, identifying his personal honor with the honor of Rome. Yet, paradoxically, his very conception of himself as the quintessence of roman virtus ends by placing him opposition to Rome because of the inherent contradictions of such enterprise of the self. But he cannot simply separate himself from the world of Rome; the intensity of his identification with Rome and with his mother forces him to come back to destroy his homeland to which he is still attached. Therefore, his new project of forging new name by destroying his homeland proves to be a self destruction or a betrayal of himself. He cannot become one with his homeland by destroying it. But he cannot realize this truth until he face his mother who represents herself as Rome's defender instead of him. And finally he came to recognize that it was her maternal power, assigned her by the state, that locked him into the fatal contradictions of his identity. In several prominent reversals, the mother who lives only through her son survives while he is sacrificed so that she and the state with which she is identified may live. Therefore, it is not a tragedy of motherhood but a tragedy of nationalism. On the other hand, as a traitor, with no possibility of finding an identity either in homeland or in enemy state, Coriolanus is condemned to remain a kind of nothing forever. In this context, the tragedy of nationalism demonstrates that the creation of an autonomous subjectivity which is the project of modernity is impossible.

타이먼의 소외, 그 이중적 전망 : 『아테네의 타이먼』

김문규(Moon Gyu Kim) 한국셰익스피어학회 2005 셰익스피어 비평 Vol.41 No.1

Shakespeare introduces Timon, the last feudal aristocrat, into the world of capital society and illustrates the process of alienation by money significantly. The aristocracy are traditionally spend-thrift. This is certainly true of Timon, one of the last Shakespeare's big spenders. His generosity to his friends is in essence an act of aggressive generosity which reduces everyone else to the inferior and passive position of recipient. Even it turns out to be literally self-destructive, as he sinks deeper into debt. Timon gives as a friend, and expects to borrow as a friend, but instead he is being treated like any debtor bound not by the ties of friendship but by the conditions of a legal contract. In a word, living in the hour of capitalist emergence, Timon is not aware of aquisition and dispossession as a timely theme. He is so out of touch with the world that his tragic invective against mankind fails to carry out any weight and seems merely rhetorical. But it is also Timon who in the lowest depths of his disillusion and misanthropy expresses money's power to pervert everything into its opposite. He ironically calls money 'sweet,' 'young,' 'fresh,' 'loved,' and 'delicate' and gloats over his ability to make the common whore of mankind act according to her nature. From this contradiction of characterization and discourse, we can infer Shakespeare's double vision of the essence of money. However, Timon cannot see clearly to the last that he is the victim of these perversions of money even while profiting from or exulting in them. That is why Timon's bleak and desolate alienation suggests strikingly that money is "the alienated ability of mankind."

『한여름 밤의 꿈』

김문규(Kim, Moon-Gyu) 신영어영문학회 2016 신영어영문학 Vol.65 No.-

This paper studies how the play-within-the-play in A Midsummer Night’s Dream implies Shakespeare’s vision of the avant-garde and also the limitations of representing that vision in his public theater. At first Shakespeare suggests his own vision of avant-garde through Bottom’s translation episode. After awakening from his fantastic dream, Bottom tries to interpret his rare vision but only to find it impossible for him to represent it. Nevertheless, he does not give up representing it and gives a name to his vision as “Bottom’s Dream.” As such, Shakespeare projects his vision of the avant-garde upon Bottom’s epistemological questions. But later the experimental aspects of Bottom and the artisan-players’ representations are totally ignored by elite audience in an atmosphere of mockery and surveillance. And their performance is appreciated only as killing a lazy time. But finally, Puck’s meta-theatrical epilogue evokes thecimaginative authority of common player-playwriter against the instrumental authority of the state.